Dance Research Methodologies

O objetivo da experiência foi ampliar o conhecimento e as concepções em dança apresentados pelos/pelas estudantes. A turma que fez parte da experiência tinha entre 14 e 16 anos e estava no 9º ano do Ensino Fundamental. Os encontros mostraram que a dança na escola pode proporcionar uma aprendizagem em/com/ na Dança e nos convida a pensar em diferentes modos de fazer Educação, considerando o corpo como um local de produção de conhecimento e pensamento. Ao ampliar as concepções de Dança também se ampliou as concepções de Educação. Indicamos a necessidade de ter uma carga horária maior para o componente curricular Arte na Educação Básica, visando contemplar o tempo necessário para a realização de práticas e reflexões em educação estética. Palavras-chave: Educação estética. Base Nacional Comum Curricular BNCC. Ensino da dança. Concepções em dança.

This survey is intended for dancers who participate in Bulgarian folk dance groups in the United States and Canada. Its goal is to collect information about the structure, content, and meaning of rehearsals in the context of living in diasporic communities.

Refletir sobre processos de avaliação em arte, como disciplina escolar, é o objetivo desse texto. É parte de uma pesquisa histórica sobre o ensino de arte na cidade do Recife que teve como campo de investigação três escolas públicas, especificamente, nos anos sessenta aos oitenta do século passado. Utilizamos documentos oficiais do período, documentos escolares, depoimentos de professores e alunos. O estudo mostra que, naquele momento, as preocupações com o processo avaliativo diziam mais respeito às atitudes e comportamentos que ao processo de aprendizagem dos conteúdos específicos da arte devido às dificuldades em estabelecer critérios do como e o que avaliar em arte, presentes nos documentos oficiais e refletidos nas práticas pedagógicas dos professores.

What happens with the feeling of "being in the zone" or with the flow (after Csikszentmihalyi 2001) when members of International or Bulgarian folk dance communities can only dance together on zoom? Or, what happens if every dancer is required to wear a mask in the dance hall? How do these experiences reveal the "true" nature of dance and dancing with others? This paper discusses these questions while analyzing surveys and observations, starting with the author's reflection on her personal experience.
Keywords: dance, Covid-19, flow, Zoom
...
Reconsidering Knowledge Production and Inclusion/Exclusion in Dance Communities
Proceedings of the 32nd Symposium of the ICTM Study Group on Ethnochoreology
29 July–5 August 2022, Brežice, Slovenia
Edited by Rebeka Kunej and Ann R. David
Issued by the International Council for Traditions of Music and Dance (ICTMD)
ZRC SAZU, Institute of Ethnomusicology
Published by Založba ZRC, ZRC SAZU
2024

Until the beginning of the twentieth century, different parts of the territory of Serbia and Bosnia and Herzegovina were under a great impact from the Byzantium, Ottoman and Austrian-Hungarian Empires. In the mirror of contemporary stage folk dance and music art, whose roots can be traced back to the mid-nineteenth century, reflection of different Empires can be perceived also through different choreographic forms of the unique stage genre – Folk Dance Choreography. Which influences Serbian and Bosnian choreographers consciously emphasize and why are they important today for presenting traditional Serbian or Bosnian dance on the stage, considering the fact that they shared the same imperial experience, is the topic of this paper in which results will be presented according to the analysis of dance-music parameters and choreographical principles used in their choreographies. The focus will also be put on considering similarities and differences between the Serbian and Bosnian approach to the way of choreographing.

The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.

It is an anthropological research, an in-depth study of human perceptions and ethical dilemmas regarding the opportunities, challenges and risks of artificial intelligence in the art and pedagogical application of dance. The researcher bases her research on four types of research in order to thoroughly examine the positions of the sample, overview, exploratory, explanatory, descriptive and causal (Gupta, 2022). It approaches the most important relevant theoretical approaches to ethical and aesthetic thought from antiquity to the era of philosophical transhumanism. It attempts to understand the actions, relationships and choices of the participants in the present (teachers, students, dance teachers, dance professionals through their own perspective, without imposing non-objective interpretations (Akeem, A. K., Baba, S. L., & Adedayo, O. (2024). The research has a dual direction, qualitative and quantitative. To conduct the qualitative research, a semi-structured interview was conducted with dance professionals. The content analysis of their responses was carried out using the Atlas.ti software. As for the quantitative research, structured questionnaires with open and closed type (dichotomous, multiple choice and graded Likert scale) questions were designed and distributed to teachers and students of Secondary education. The analysis of the

This paper investigates the history of Romanian ethno-choreography and its proponents by drawing from documentary sources and the author's long-term fieldwork. It explores multi-layered notions of local cultural norms, choreographic authority and knowledge, presentational performances, and 'modes of representation'. The first section outlines the history of Romanian ethno-choreography from the early twentieth century, when Romanian dances were included within staged art productions. It outlines the framework of the network of folk ensembles established after the Second World War that contracted between 1990 and 2005, then expanded following a renewed enthusiasm for local culture. The second section follows the choreographers and dance instructors placing these individuals according to their generations and investigates available options for choreographic training both past and present. The third section examines the evolution of the structure of Romanian ensemble performances, and ethno-choreography styling, the role of the choreographer as mediators between the dance moves and the creation of their dance performances and various strategies used to construct choreographies. Finally, this paper looks forward at the notion of continuity and ethno-choreography in relation to evolving performance in Romania, the future of the gene, its mediators and their pupils, audiences, and funding bodies.

CITATION: Mellish, Liz (2024). Romanian dance ethno-choreography: past trajectories and evolving approaches. In Dunja Njaradi, Miloš Rašić, & Krešimir Dabo (Eds.), The Choreography of Traditional Dance on Stage: Crises, Perspectives and Global Dialogues (pp. 109-133.). Belgrade, Serbia: Institute of Ethnography SASA and Ensemble of Traditional Dances and Songs of Serbia "Kolo". ISBN-978-86-7587-121-7.

The many talented students at the Irish World Academy, including alumni of the postgraduate programmes in Ethnochoreology and Irish Traditional Dance Performance contributed to the success of the meeting by performing at the Opening Reception and at the 50th Anniversary Concert. Like all important events, rigorous organisation in programming combined with social interaction and networking was pivotal. The Local Arrangements Committee: Catherine Foley (Chair), Colin Quigley, Mats Melin, and Orfhlaith Ni Bhriain coordinated their efforts to make the Symposium run in a smooth and professional manner. The Programme Committee: Colin Quigley (Chair), Hanafi Bin Hussin, Mehmet Öcal Özbilgin, Daniela Stavelová, and Judy van Zile, skillfuly arranged a programme schedule. The board of the ICTM Study Group on Ethnochoreology, in particular Laszló Felfoldi (Chair) and Anne von Bibra Wharton (Secretary), also provided much support and assistance. Presenters at the Symposium came from far and near including Canada,

Multicultural communities have formed in Hungary alongside the border due to dynamic processes of the social-political-historical surroundings where the necessity of ethnic identification exists. The paper presents two dance events – Serbian and Romanian Balls, that took place within this context at two localities – Szeged and Elek (South-eastern Hungary). Specific ethnic identities are performed during these Balls and the participants tend to include diverse local inhabitants regarding status, gender, age, and ethnic determinations. Grounded in empirical knowledge, the author will comparatively examine critical features of the structure, symbolic presentation, cultural mediums, and multiple meanings of two case studies of Serbian and Romanian Balls in Hungary.

This summary highlights our contributions to 33rd Symposium of the ICTMD Study Group on Ethnochoreology, IZMIR, Turkey, 21-28 July 2024. 
Attached please find identification and the programming of the document "PROGRAMME and ABSTRACTS".

Bu özet, 21-28 Temmuz 2024 tarihlerinde İZMİR, Türkiye'de düzenlenen ICTMD Etnokoroloji Çalışma Grubu'nun 33. Sempozyumu'na katkılarımızı vurgulamaktadır.
Ekte "PROGRAM ve ÖZETLER" belgesinin kimliği ve programlaması bulunmaktadır.

This article aims to shed some light on the importance of embodiment and an embodied attitude towards data analysis, within the framework of a heuristic phenomenological inquiry. It is a process-oriented study, by which the authors want to point out that it is a partial/temporal interception of a larger body of research. It presents embodied reflection (ER), through the original concepts it stems from-embodiment and reflective practices, as a step/phase in the phenomenological analysis of experience. Thus it is proposed to the reader as a systematically described, newly designed tool, which can serve psychologists and psychotherapists in practice, qualitative researchers, or social workers in research and practice, to reach a fuller understanding of the researched/experienced phenomenon. ER is also presented as part of the data analysis procedure in a concrete research inquiry centered in the essence of improvisation in dance and body-oriented psychotherapy contexts. An added value of this tool and/or a contribution to any kind of phenomenological or psychotherapeutic qualitative study is discussed in relation to the existing literature. Some further possible ways of employing this method are proposed.

The 45th Annual DCFF
Kress Pavilion in Egg Harbor, WI
July 12-14, 2024
(Online discussion)
This talk discusses various experiences of dancing to live music v/s dancing to recorded music. I observe the Balkan Night NW Festival in Seattle and the Verea-Chicago Bulgarian Festival. I trace these lines: the ways in which local leaders (musicians) are responsible for creating a musical environment that evokes a particular emotional and psychophysiological response (and repertoire). Second, the music that the Bulgarian folk dance leaders introduce to their groups (as researched and observed during the editions of the Verea-Chicago Festival since 2012). Third, I address the role that the Bulgarian professional musicians residing in the States play in creating a dance experience that differs from those of dancing to recorded music. I conclude with a note on the importance of the live music-and-dance events (for both dancers and musicians) in keeping folk dancing close to its essence.
...
Slides were submitted afterward to the Festival's committee for its archive.

Storia e teoria della coralità / History and theory of choral music Organo del / Journal of Centro Studi Guidoniani Rivista annuale fondata da / Yearly journal founded by Francesco Luisi Direttore responsabile / Legal responsibility Claudio Santori Condirettori / Editors

This essay is composed of three parts. 1 The first provides a general picture of the Bulgarian folk dance club movement's birth and development, with its historical and political background; the second elaborates on the club genre and the 'national genre spectrum,' and the third addresses the club's performances abroad, the Bulgarian national image, and the 'branding of Bulgaria' today. How does the 21st-century Bulgarian folk dance club/group for recreational dancing differ from the ensemble model and folk dance clubs for recreational dancing in other parts of the world? And why?

Many of the most common folk dances belong to a single family, whose basic step provides an ancient and archetypal template for many of the simple dances in our repertoire. There are so many different variations on the basic theme that we tend to overlook their interrelation and treat them as completely separate dances, and it can be surprising to find out how many dances derive from the same root pattern. This discovery suggests that something essential and unchanging is common to dances of many different cultures. The ancient dance family of which I speak is the group of three-measure dances, where the first two measures travel and the third measure mirrors the second.

The many talented students at the Irish World Academy, including alumni of the postgraduate programmes in Ethnochoreology and Irish Traditional Dance Performance contributed to the success of the meeting by performing at the Opening Reception and at the 50th Anniversary Concert. Like all important events, rigorous organisation in programming combined with social interaction and networking was pivotal. The Local Arrangements Committee: Catherine Foley (Chair), Colin Quigley, Mats Melin, and Orfhlaith Ni Bhriain coordinated their efforts to make the Symposium run in a smooth and professional manner. The Programme Committee: Colin Quigley (Chair), Hanafi Bin Hussin, Mehmet Öcal Özbilgin, Daniela Stavelová, and Judy van Zile, skillfuly arranged a programme schedule. The board of the ICTM Study Group on Ethnochoreology, in particular Laszló Felfoldi (Chair) and Anne von Bibra Wharton (Secretary), also provided much support and assistance. Presenters at the Symposium came from far and near including

Folk dances have been recreated in non-peasant settings for several centuries. 1 Ethnochoreologists have been describing this phenomenon for a fairly long time (Crum 1961; Hoerburger 1968; Dunin and Zebec 2001: 133-271; and many others), but no broadly shared terminology or set of concepts has taken hold. In this article, I suggest it may be useful to look at folk dance revival communities as "enjoyers," "preservers," "presenters," "creators," and/or "all-stars." This article is not primarily an ethnography, although I make use of several decades of experience observing diverse folk dance groups in Canada and abroad.

These introductory notes are part of the Bulgarian dance in migration book project.

BULGARIAN DANCE IN MIGRATION
Essays on Bulgarian dance in Bulgaria and in the United States

CONTENTS

Preface
Acknowledgments
Book’s structure
On terminology

Prologue
Bulgarian dance in 20 pages


PART 1
BULGARIAN DANCE IN BULGARIA
Bulgarian dance in Bulgaria (Notes from the Socialist and Post-socialist periods)
1. Bulgarian folk dance ensemble model: establishment and development
2. On choreographer. Coming of age as a choreographer in Bulgaria
3. Giving a name – giving a life: Bulgarian folk choreographers speaking
4. “Rachenitsa! Try to outdance me!” On improvisation in competition settings
5. Wedding as a stage: examples from the Bulgarian urban wedding scene
6. “Something exotic from the past”: nestinarstvo and nestinari in present-day Bulgaria
7. On the Bulgarian folk dance club movement

PART 2
BULGARIAN DANCE IN THE UNITED STATES
Balkan folk dance phenomenon in the United States
1. The Balkan folk dance phenomenon: a few analytical observations
2. Shopska syuita forever? Bulgarian folk stage repertoire of the American troupes and ensembles
3. The South Slavic Club of the North American Midwest: Živio folk dance group repertoire
4. Bulgarian dance in Seattle. Field studies among the International folk dance community
5. “There will not be another Koleda:” (folk dance) narratives and the study of dance
6. No illusions, music matters: the role of Balkan Night Northwest in bringing communities together
7. Bulgarian dance style(s) in migration: fieldwork in Bulgaria and the United States

Bulgarian dance re-discovered: field research among the Bulgarian ethnic communities in the United States
1. Folk dancing abroad: Bulgarian folk dance activities in the United States today
2. Performing Bulgarian dance in Minnesota
3. Bulgarian folk dance (re)discovered: examples from the Californian Bulgarian community
4. Go folkdance! Folk dancing as vital vs. folk dancing as obsolete
5. Verea – Chicago Bulgarian festival: who are these people and what they are doing there?
6. “What's your name?” Names and cultural representation of Bulgarian folk dance groups in North America
7. “Bravo, Bulgarians!” Observations on performer-audience connection via social media

Epilogue
Notes
References
Index

Thinking of the Bulgarian folk dance ensemble model as compared to the models of other former communist/socialist countries in Europe, the first thing coming to mind is this Leo Tolstoy’s phrase, “All happy families resemble one another, but each unhappy family is unhappy in its own way. Indeed, the folk ensembles/groups in all of the former socialist countries wore a “happy” face. Yes, this happy expression was politically “prescribed.” However, no people were forced to dance and attend dance rehearsals for years. On the contrary, these people had happier lives (and faces) because they experienced the joy of dance and dancing, performing, and socializing through it. Dancers had genuinely happy experiences practicing their hobby or profession; most claimed that the years of folk dancing were the best in their lives.
But what about the differences?
...
These research notes were written while rewriting the Bulgarian Folk Dance Ensemble Model: Establishment and Development essay.

This article is an extended version of the section on dance practices within our paper in a publication dedicated to our late research colleague Selena Rakočević. The dance practices of the Serbians and the Romanians living in the Danube Gorge were researched in the 1970s before the flooding of many of the villages to build the hydro-electric plant at Kladovo, and more recently by our late research colleague Selena Rakočević. In this paper I reference the documented collections and research and contextualise this to the dance practices in the surrounding regions.

T he Philippines’ indigenous and colonial influences make the nation-state’s movement practices as diverse as its heterogeneous ethnolinguistic groups and traditions, and as pluralized in modality as its indigenous, colonial, and Asian influences. While aesthetics of American modern dance and of classical ballet seem imprinted and sedimented in the bodies of work of concert dance companies in Manila, there has been a dynamic and continuing practice of ‘Filipinizing’ ballet and modern dance since the mid 20th century. Certainly, altering the historically Euro-American dance form undergirds a borrowing and theatricalizing of choreographic phenomena or structured movement systems from Philippine ethnolinguistic groups in the service of ballet or modern dance. But for works that are choreographically syncretic, ‘Filipinizing’ is more an artistic articulation of difference and of being Filipino than a project of explicit cultural appropriation.

The Covid-19 pandemic impacted dance practice in African communities, which at the time were still grappling with building technological infrastructure and resources to advance dance education, research, scholarship, and practice. How did the dance teachers and students in environments with less developed information and communication technological (ICT) infrastructure in African countries such as Uganda navigate online teaching and learning of dance during the covid-19 pandemic? This article engages the Kiganda education philosophy 'kola nga bwoyiga ate oyige nga bwokola' (learn as you do and do as you learn) as an analytical frame to unpack how the dance teachers and students in Uganda navigated dance pedagogies during the pandemic. The reflections of the teachers and students revealed how the pandemic dismantled the sense of community as an actual essence dance in local communities. The pandemic stirred a radical rethink on framing online and distance dance teaching and learning, applying context-centered and technologicallyresponsive pedagogies, and using motion picture tools to teach indigenous dance traditions. The discussion unpacks how 'kola nga bwoyiga ate oyige nga bwokola' centered pedagogic reimaginations and maneuvers to activate agency, adaptation, resilience, and contextualization, underscoring the value and relevance of Indigenous worldviews in overcoming ever-emerging barriers in dance education.

In the context of the research effort of the Ancient Orchesis Study Group to reconstitute the philosophical and wider cultural presuppositions that define the ancient Greek dance culture, from which the Greek-speaking and Roman world was removed, to return with the Renaissance in a new European context, along with the recognition of the basic anthropological, on the one hand, aesthetic, on the other hand, criteria and principles of art and, in particular, of dance expression, we attempt a review of certain concepts like χορός & ὄρχησις-which stand for characteristic phenomena of ancient Greek culture. This article plays the role of an introduction into the philosophical-historical investigation and understanding of concepts of intrinsic importance in the question about relating philosophy with art, therapy and sports in the ancient world.

How might a researcher use Indigenous African knowledge systems to develop a decolonial dance education research paradigm and scholarly writing? What Indigenous African knowledge systems can anchor dance education research? These questions have been critical in framing the decolonial dance education research and writing paradigm that the author uses as a researcher. In this chapter, the author draws on his autoethnographic reflections to critically examine how he has developed and applied the African philosophy of Ubuntu as a hermeneutic phenomenology to frame the ethics, agenda, logic, conceptualization, spirit, contextualization, and vision of his research projects in Indigenous dance practices. The analysis unpacks the author's reflexivity and positionality as being-in-the-world and being-with-others-in-the-world of fieldwork. Moreover, the article dissects how the Kiganda tradition of okuluka omukeeka (weaving the mat) provides a methodological formula, logic, and creed that the author has employed to conduct fieldwork, analyze data, and write scholarly works. These decolonial paradigms, which confront, decenter, and critique the existing hegemonic Anglo-European research and writing canons, reveal the complex possibilities and pathways that are available for dance researchers to engage Indigenous knowledge systems as valuable and valid markers in the process of decolonizing academic research and writing in dance education.

Evaluation and the assessment of folk stage performances is a question that relates to a decision about the representativeness of the tradition. That is connected with the inevitable changes in aesthetics, depending on the context of the performance and its performers. Transmission of dance knowledge and the training methods also differ and sometimes prove to be ways of preserving the stylistic and structural particularities of the dance. We can follow two main types of performing groups in Croatia that are presenting the same tradition in different ways: those presenting their local, narrow homeland traditions, and those that are presenting someone else’s tradition. The third type of performing group is able to present both ways – mostly youngsters that are presenting local traditions in two ways with different aesthetics. In this paper the debate over the dance transmission is further developed in relation to the notion of aesthetics. I chose kolo, poskočica – linđo dance as a very vivid and clear example of different approaches for the stage production.

Federal da Bahia. Coordenadora, atualmente, do Programa de Pós-Graduação em Dança. Dá aulas na Graduação (presencial e EaD), cursos de Especialização em Estudos Contemporâneos em Dança, Mestrado e Doutorado em Dança. Estudou de 1977 a 2000 com Maria Duschenes, introdutora da Arte de Movimento de Rudolf Laban no Brasil. Coordena o Grupo de Pesquisa Corponectivos em Danças. Atua principalmente nos temas: danças, corpos e cognições, procedimento metafórico do corpo; corponectividade; ética situacional; epistemologias do sul, ecologia de saberes, prática de estágio em Dança.

The contemporary Serbian community in Slovenia is very successful in preserving traditional values: language, music and dance. United in many cultural-artistic associations throughout the country, after the split of Yugoslavia in 1991, they make a Serbian community sustainable that exists as a bearer of cultural diversity. Serbian associations organise many concerts and different cultural events, as well as participate in many local, regional and national events in Slovenia and abroad. One of the main characteristics of Serbs in Slovenia is their different backgrounds, which is a consequence of their various waves of settlement. Although the Serbs in Slovenia, as the biggest minority, still do not have a formal status of a national minority, they take part in multifaceted social and cultural interactions with the indigenous population, presenting their traditional values, but also including local people, as well as other ethnic groups, in their activities. In these processes, stage folk dance and music play a significant role.

Bajić Stojiljković, Vesna. 2020. „Serbian diaspora in Slovenia and other European countries and challenges of their new stage presentations.” Music and dance in Southeastern Europe: Migrations, Carnival, Sustainable Development: 6th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Sinj 2018, ed. Liz Mellish, Nick Green and Tvrtko Zebec. Zagreb: ICTM Study Group on Music and Dance in Southeastern Europe, Institute of Ethnology and Folklore Research, 24–31. ISBN: 978-953-8089-61-9.

A corporeidade, reconhecida como espacialidade, impulsiona uma nova praxis no qual o corpo e entrevisto como dimensao de resistencia a homogeneizacao do espaco e das relacoes sociais. O corpo como sujeito e objeto, a corporeidade como paradigma etico-estetico sao importantes subsidios na estruturacao dos elementos que compoem o cotidiano. O processo de construcao do conhecimento por meio de metaforas corporificadas, conceitos e representacoes, associadas a uma interpretacao instauradora, permite uma analise profunda de si, dos outros e da realidade do mundo. O saber de experiencia e a proposicao de uma educacao (do) sensivel indica ser o corpo o grande mediador do fluxo de informacoes e de espacos de acao.

A corporeidade, reconhecida como espacialidade, impulsiona uma nova práxis no qual o corpo é entrevisto como dimensão de resistência à homogeneização do espaço e das relações sociais. O corpo como sujeito e objeto, a corporeidade como paradigma ético-estético são importantes subsídios na estruturação dos elementos que compõem o cotidiano. O processo de construção do conhecimento por meio de metáforas corporificadas, conceitos e representações, associadas a uma interpretação instauradora, permite uma análise profunda de si, dos outros e da realidade do mundo. O saber de experiência e a proposição de uma educação (do) sensível indica ser o corpo o grande mediador do fluxo de informações e de espaços de ação.

Presented at the Hiphop Symposia in Johannesburg, this article is a shortened version of an Honours research paper that the author wrote in fulfillment of her B.A. degree in Anthropology at Rhodes University in 2010. In the paper, she explores the complex interplay between break dancing and identity formation processes by offering a case-study of a break-dancing crew based in Grahamstown, South Africa

Dramatis Personae Daniel 'Pang' du Plessis, 20, average height, moustache, always wears a beanie on his head to dance. He says he got his name when he was five years old-there was a 3 The Master of Ceremonies, he (or she) is the person who oversees the dance and music event.

La muerte en danza: lo macabro en el arte, el teatro y la fiesta popular en la península ibérica Francesc Massip Una danza "macabra" di tradizione valdese in Provenza: Bar-sur-Loup Laura Ramello La Danse macabre de Guyot Marchant en Istrie (Beram, Hrastovlje) Dominique Costantini Le mummie di Venzone Enrico Miniati

Abstract: The Pilates method, originally called contrology, has been gaining a significant following in Brazil. This article discusses the method's principles and convergences with somatic education by analyzing the original works of Joseph Pilates using an aesthetic-philosophical approach. It seems implicit that the Pilates method can be instrumental for the performing arts, and the article accordingly points to some connections in this regard. However, the article also argues that, in the absence of the guiding principles proposed by Pilates, the method ceases to be an art of control and instead is reduced to something not much different from other physical exercises.

Resumo: O método Pilates, originalmente denominado de contrologia, vem encontrando adesão significativa no Brasil. Neste texto, discutem-se seus princípios e convergências com a Educação Somática em uma abordagem estético-filosófica das obras originais de Joseph Pilates. Parece tácito que o método pode contribuir de modo efetivo ao artista da cena e são propostas algumas relações nesse sentido. Mas também é discutido, neste artigo, que, sem os princípios norteadores propostos por seu idealizador, essa contribuição deixa de ser uma arte do controle para reduzir-se a uma prática de exercícios físicos não muito distinta das demais.

Presented at the Hiphop Symposia in Johannesburg, this article is a shortened version of an Honours research paper that the author wrote in fulfillment of her B.A. degree in Anthropology at Rhodes University in 2010. In the paper, she explores the complex interplay between break dancing and identity formation processes by offering a case-study of a break-dancing crew based in Grahamstown, South Africa

Presented at the Hiphop Symposia in Johannesburg, this article is a shortened version of an Honours research paper that the author wrote in fulfillment of her B.A. degree in Anthropology at Rhodes University in 2010. In the paper, she explores the complex interplay between break dancing and identity formation processes by offering a case-study of a break-dancing crew based in Grahamstown, South Africa